诗云：
人生不满百，
常怀千岁忧。
昼短苦夜长，
何不秉烛游。
东汉-无名氏
任他何等平安富贵人生，岁月梭轮皆做等闲视之，无别于凶险贫苦之宿命。故生老病死、悲欢离合，以及尽数人生命题，皆需世人面对。然众人各有轨迹，千差万别，未必尽数识得共性，须得岁月磨锉，生死考验，方能沥去轻狂，有所沉寂。人世沧桑，万古长夜、千年山海，折戟沉沙。留下灿若星河之高贵伟大、坦然彻悟之灵魂。却较之亿众之数，实为凤毛麟角耳。是故，常人大有进益空间，于蜉蝣昙现一般生命里，将自身心性、人生意义做更深之了解，以无惭于天地造化之功，内心祈盼之情也。程朱天理、释教佛性，文艺复兴、存在主义，莫不启发世人回归内心、重现天性。寂寞蓝星，娑婆世界，烟海逝岁、落日长河，沧海桑田，陨星雨落，纵磨损容颜，变却躯体，而总无法改变那缘于本能、感觉明确而又莫可名状之希冀目光。天性或被埋没，又何曾真有寂灭，唯患不自知也。于此，常人度其一生，似亦应可感之。人之有所共者，是无疑焉。名之“赤子初心”可乎？它写在幽深澄澈、新奇祈盼之眼眸中；生在四季光影流转无端流出的心情与意趣之间。春花秋月、雨桐雪松，任他喷发所有歌舞吟咏、欢喜忧愁，其所感见者，实为自心。可知，人皆具自在心、闲情意。哲人思洪宙、耕民对良田，其致一也。
人类筚路蓝缕、血肉横飞到得今日，未见少了歌、舞、诗、艺。因此，谓其苦中作乐可也，未必可执“商女亡国恨，隔江后庭花”之意以非之。红颜薄命，陷于危世，无辜且惨（miserableness）之人，迥异于黑霾压城，忘身起舞，无聊且蠢（stupidity）之辈也。至于闲情所寄，自心之发，真善美智，怡然焕彩，乃人之天趣，岂可非难也？
All real and wholesome enjoyments possible to man have been just as possible to him， since first he was made of the earth， as they are now； and they are possible to him； and they are possible to him chiefly in peace. To watch the corn grow， and the blossom set； to draw hard breath over plough shade or spade； to read， to think， to love， to hope， to pray-these are the things that made men happy…Now and then a wearied king， or a tormented slave， found out where the true kingdoms of the world there， and possessed himself， in a furrow or two of garden ground， of a truly infinite dominion.
John Ruskin (1819-1900) Modern Painters
所有潜在真正、有益之享受，人皆可获取，因其原本乃天地化育。一如此刻，此等享受无所不在，而于安定闲适之时犹是。看黍米生长，枝间含苞，犁铲翻动，重重喘息。读书、沉思、情爱、嘉愿、祈祷，此悉娱人悦己之幸福者也… 偶然之间，疲倦无趣之君王，亦或饱受苦难之奴隶，发现得世间真正之王国，在花园中、垄壑间，迳自拥有真正无穷之领地。（作者译）
约翰-罗斯金(英国作家及艺术评论家) 《现代画家》
坛城容我，趣中流年，闲情托得浮云意。
谁把闲情做了寂寞。
宣统帝溥仪幼时，被罢天子位，尚不晓得捶胸顿足，反在无尽孤寂之中树下独赏群蚁。正因此举，吾记之至今，而其于后日军政之事，竟罕有印象。
清人沈复《浮生六记》多载鲜活之寂寞童趣。
余忆童稚时，能张目对日，明察秋毫，见藐小之物必细察其纹理，故时有物外之趣。夏蚊成雷，私拟作群鹤舞于空中，心之所向，则或千或百，果然鹤也；昂首观之，项为之强．又留蚊于素帐中，徐喷以烟，使之冲烟而飞鸣，作青云白鹤观，果如鹤唳云端，为之怡然称快。
I remember when I was a child I could stare at the sun with wide，open eyes.I could see the tiniest objects，and loved to observe the fine grains and patterns of small things，from which I derived a romantic unworldly pleasure. When mosquitoes were humming round in summer，I transformed them in my imagination into a company of storks dancing in the air. And when I regarded them that way，they were real storks to me，flying by the hundreds and thousands to me，and I would look up at them until my neck was stiff. Again，I kept a few mosquitoes inside a white curtain and blew a puff of smoke round them，so that to me they became a company of white storks flying among the blue clouds，and their humming was to me the song of storks singing in high heaven，which delighted me intensely. (Translated by Lin Yu Tang)
然闲情另广有托身：祈盼、哀愁、欣喜、叹惋，不一而足。于诗词歌赋之中至为洋洋大观者，恐非哀愁莫属。
闲情便又赋予哀愁。
不说诗经之蒹葭，不说花间之云鬓，不说婉约派之瘦黄花，只品纳兰词一阕，以略感其悱恻忧思。
辛苦最怜天上月，一夕如环，夕夕都成玦。
若似月轮终皎洁，不辞冰雪为卿热。
无那尘缘容易绝，燕子依然，软踏帘钩说。
唱罢秋坟愁未歇，春丛认取双栖蝶。
清 纳兰性德《蝶恋花》
纳兰之情何以如此悱恻缠绵、痛贯心肝？凡知之者，必明于其词与宋人抗行之故。
此应感尘世、脉脉轻愁，诗韵红叶，颦笑眉间，尽是真心真我之流露也。须一生涵养，终身不失。当其萌芽之时，呵之护之尚嫌不足，何敢害之，世人于学校、家庭教育中有尊此理呼？
真我之心使人永葆清醒，宛如明镜，映照人间万象，啜其精华，唾其糟粕。而免于生命中最阴森之渊涧：麻木与放纵。若有所向往，便成William Butler Yeats所言“朝圣者之灵魂”（pilgrim soul），若有所安适，便成箪食瓢饮亦无所损之闲情雅意。
于是，此心一发，便是真善美之投射。Joseph Addison 于Westminster Abbey之中瞥见坟墓亦有令人唏嘘之闲情所寄。
When I look upon the tombs of the great， every emotion of envy dies in me； when I read the epitaphs of the beautiful， every inordinate desire goes out； when I meet with the grief of parents upon a tombstone， my heart melts with compassion； when I see the tomb of the parents themselves， I consider the vanity of grieving for those whom we must quickly follow： when I see kings lying by those who deposed them， I consider rival wits placed side by side， or the holy men that divided the world with their contests and disputes， I reflect with sorrow and astonishment on the little competitions， factions， and debates of mankind. When I read the several dates of the tombs， of some that died yesterday， and some six hundred years ago， I consider that great Day when we shall all of us be Contemporaries， and make our appearance together.
Joseph Addison (1672-1719) Spectator No.26
当吾见历代伟人坟墓之时，羡慕之情尽皆熄灭；当吾念美人墓志芳铭之时，万般奢欲尽皆消除；当吾见翁妪丧子失女，碑上铭之哀挽，痛贯心肝，亦心发怜悯，悲如怀冰；当吾见彼白发一朝就木新坟幡残，吾念徒劳之哀挽，感逝者之宿命，吾等亦日渐相随。累累青塚，瑟瑟茔坟，君王敌手，比肩相望；瑜亮之斗，殁而成邻。亦或“神圣之士”执己隅见，舌战不休，劈分世界，频致纷争，而今遗骨深掩，雨雪霜风。吾思之悲凉，念之惊心。人生苦短，迷误至此，困于争胜，陷于党朋，喋喋自立，嘴下刀兵。当吾见碑上祭日，或晚在昨日间，或早如六纪前，吾自知那伟大之日，世间悉数之众将同于一处，同候判言。（作者译）
约瑟夫·艾迪生 《旁观者》第26期
David Herbert Lawrence (英国作家)观刈者挥镰亦见别样闲适之美。
I don't care about right and wrong， politics， Fascism， abstract liberty， or anything else of the sort. I want to look at the mowers， and wonder why fatness， elderliness， and black trousers should inevitably wear a new straw hat of the boater variety， move in stiff jerks， shove the end of the scythe-strokes with a certain violence.
David Herbert Lawrence (1885-1930) Insouciance
吾不关心是与非，无意于政治，漠然于法西斯，不留意抽象之自由，甚至此般种种尽皆视而不见。此刻吾所关注者，挥镰劳作之刈者，沉思其状。因何体胖、年老黑裤者定要着船夫式新草帽，直挺蹒跚行进；为何每割一刀，临了镰刀又猛然前推。（作者译）
英国作家 戴 赫 劳伦斯 《闲情逸致》
学者林语堂译介古籍多秀中国式闲情雅致（《幽梦影》《扬州瘦马》《冥寥子游》《记旧历除夕》《西湖七月半》《不亦快哉》《东坡诗文选》），另明清小品散文诸家亦各有风味。美景诗意入得文章，于灵台掸尘、心境洒扫殊有裨益。中西人物于自心涵养之事真各有所悟也。
芦花被下，卧雪眠云，保全得一窝夜气；
竹叶杯中，吟风弄月，躲离了万丈红尘。
宠辱不惊，闲看庭前花开花落；
去留无意，漫随天外云卷云舒
（明）洪应明《菜根谭》
美国作家Thomas B. Aldrich 清新一《忆》可有异曲同工之妙？
My mind lets go a thousand things，Like dates of wars and death of kings，And yet recalls the very hour-'T was noon by yonder village tower，And on the last blue moon in May The wind came briskly up this way， Crisping the brook beside the road： Then， pausing here， set down its load Of pine-scents， and shock listlessly Two petals from that wild-rose tree. Thomas Bailey Aldrich （1836-1907）Memory
吾心把千万事忘记，
如战争与君死之期，
然却记住那一时刻；
远村钟楼，日中熠熠，
榴月之末，最后晴空
一阵致爽清风来袭，
吹皱路边溪水；
风停之处，松香四溢，
在那野玫瑰枝间，
两片花瓣正缓缓飘离。
（作者译）
汤玛斯奥尔德里奇《忆》
有心方有心情创造，有创造方更显自心，而后一路提升修整，直至积有所成。若不涵养个人性灵，怎生个人意识，而又何来人格自立，徒将沦为酒色财气、庸秽不堪之辈。倘世俗悉皆如此，乃世之陋也。正为荀子所言：“陋也者，天下之公患也。”凡有建树者，莫不独立不惧、走自家道路，更有甚者，竟有“独持偏见，一意孤行”之信念。
那一向自负狂傲之王尔德（爱尔兰文学家）对惠特曼颇为肯定，是否源自惠氏对自我发现与完善之坚守？
In his very rejection of art Walt Whitman is an artist. He tried to produce a certain effect by certain means and he succeeded.... He stands apart， and the chief value of his work is in its prophecy， not in its performance. He has begun a prelude to larger themes. He is the herald to a new era. As a man he is the precursor of a fresh type. He is a factor in the heroic and spiritual evolution of the human being. If Poetry has passed him by， Philosophy will take note of him.
Oscar Wilde (1854-1900) Review of Whitman
惠特曼之摒弃艺术，反成其为艺术家。自我手法，独辟新境，积有所成…又特立独行、不主常故。其作品价值非在文字之功，而在目光之超前。一篇宏伟乐章，惠氏奏响其序。纪元新辟，卓然先锋。其凡身肉体，乃历史前进之先驱，雄壮精神演进之代言。若诗歌将其遗漏，哲学定会纳其己有。（作者译）
奥斯卡王尔德 《评惠特曼》
真我个性从未囿于国界。佛国泰戈尔、中东纪伯伦、法国伏尔泰，美国艾默生。凡有人处便有不向“丑恶非我者”低头之性灵。若得此等人物文字一读，便顿觉投机、恰似得遇知音一般。所谓“乐莫乐兮新相知”（屈原），诚然。
夫娑婆世界万丈红尘、一人心力何异蝼蚁，且先天、后天皆有密网遍布。先天亘古，自然法则，非因人制。后天须臾，人“法”泛滥。暴君独夫，削足适履；纸醉金迷，诲淫诲盗，欺世沽名。诚为第二自然也。刀兵、杀伐、愚弄、奴役；冰火丛林，适者生存。“已然罕顾萌芽小，谁对风雨扮矜持”（作者）。无奈者，人也，便从了这宿命，忘我一拼。不觉稳处洞穴，安做缚奴，柏拉图Allegory of the Cave之喻，一鞭背后，透心之凉！日复一日、年复一年，异化（alienation）无尽，走向无人可免之生命终劫。此刻之你，镜中容颜，你必认得，可敢映照自心？可认识那心中之面貌，那心牢中之“我”是否已形容枯槁、恍如风烛？
By alienation is meant a mode of experience in which the person experiences himself as an alien. He has become， one might say， estranged from himself. He does not experience himself as the center of his world， as the creator of his own acts-but his acts and their consequences have become his masters， whom he obeys， or whom he may even worship. The alienated person is out of touch with himself as he is out of touch with any other person. He， like the others， is experienced as things are experienced； with the senses and with common sense， but at the same time without being related to oneself and to the world outside positively.
Erich Fromm (1900-1980) The Sane Society
异化，乃是一种经验模式，在此经验之中，人视己为异类。或曰：此是对真我之剥离。是时，人之生存，真我已非个人生存之中心，他已不再是个人行为之创造者，而是沦为行为本身与行为目的之奴隶。“为行之行”与“行之有图”成其二主，对之膜拜，甘愿服从。人若至此，便再无法走入自心，与无法进入他人之心一般无二。此人与他人无异，只成为别人经验中之物，与其他事物出现在人之经验世界中无甚差异。他有感官与常识，却无法与自身及世界产生有关联之意义。（作者译）
德国社会学家费罗姆 《健全社会》
Plato's Cave
彼第二自然甚是伟大，天然赋予迥异之性灵，人欲将控之却无所牵缚，遂转向行为之模塑、结果之掌控。
春光明媚、夏雨淅淅，秋菊迎风，冬雪皑皑。四时只是依旧。岁月悄逝，斗转星移；除却天地嗔怒，烽烟战火，可谓静如止水。然静水流深，平静之下，自有欢歌笑语，而平分秋色者，唯血与泪。小小人儿，宿命之下，可有抉择呼？
The only exercise that Tess took at this time was after dark； and it was then， when out in the woods， that she seemed least solitary. She knew how to hit to a hair's-breadth that moment of evening when the light and the darkness are so evenly balanced that the constraint of day and the suspense of night neutralize each other， leaving absolute mental liberty. It is then that the plight of being alive becomes attenuated to its least possible dimensions. She had no fear of the shadows； her sole idea seemed to be to shun mankind-or rather that cold accretion called the world， which， so terrible in the mass， is so unformidable， even pitiable， in its units.
Thomas Hardy (1840-1928) Tess of the D'Urbervilles
苔丝唯一所做之事便是在夜幕笼罩之后，踏入林间。彼时彼景，最可消除其心底之孤独。她晓得如何抓住傍晚之瞬息。光明与幽暗平分天色，夜晚之牵盼抵消白昼之压抑，只余下心间惬意之自由。只在那时，活着的苦才被压得缩小身形。她无惧于夜之黑暗，她唯一之想，应是避开人群，亦或是炎凉集聚之尘世。那尘世如此之巨，然一旦个体彼此分离，非但不足为惧，却又颇惹人怜惜。（作者译）
汤玛斯 哈代《德伯家的苔丝》
又有灯红酒绿、狐媚妖氛，疲于糊口、蒙于拜金。洪流之中，早沉于白浪之间矣
Modern man， if he dared to be articulate about his concept of heaven， would describe a vision which would look like the biggest department store in the world， showing new things and gadgets， and himself having plenty of money with which to buy them. He would wander around open-mouthed in this heaven of gadgets and commodities， provided only that there were ever more and newer things to buy， and perhaps that his neighbors were just a little less privileged than he.
Erich Fromm (1900-1980) The Sane Society
现代人若真敢明言自家观念中之天堂境界，其所描摹之貌恐无异于世间最大之购物场，新奇货品、玩物摆件，琳琅满目，视不暇接。自家黄白无尽，任意选购。置身这般物质天堂，一路闲游，结舌瞠目。心所想望者，奇新之品层出不穷、购买无尽，籍此使所有身边一干人等，尽数逊己一筹。（作者译）
德国社会学家费罗姆 《健全社会》
似这般，竟容许他人成为自家人生标尺，一生无尽追逐，却大有不知所图者也。
因有无邪之疾呼，徒劳之呐喊。然真心敢对，问心无惭。有诗为证：
霓镫光芒刺阴都，不堪凌乱染尘奴。
泥污残雪穷眸界，病锁孤影禁心庐。
漫忆蜗行攀鐡壁，忽怜箭飞引时途。
玄鸦遮天抟黑浪，一地苍凉落群哭。
作者《残冬寞臆》2011-2-17
晨晓云羁暗阴容，秋凉灭焰凝露踪。
愁步瘠原伤时果，怒思利刃剜寄虫。
弱翎陷足空丧乱，疾草失籽费葱茏。
旷莽萧萧飞黄叶，一片人间迷雾中。
作者《秋曦觉幻》2012/8/22
花阵芳雨平生少，狂飙卷叶砾世穷。
惊沙侵日吹寒漠，病树凌嚣渴玉龙。
阴蒙倒降乾坤暗，血染浊流海岳红。
寻寻觅觅仍得见，万里澄洋再向东。
黄粱白昼寐浮生，晓月落归河汉逢。
靡靡独向曲中叹，潸潸只在醉里横。
孤禽逆风穿广厦，老松结尘度残龄。
曦轮彤辉荡云扼，转瞬霾雾压帝城。
作者《闲居冬日》 2015年2月
扛得住恶俗之逼仄，便也成了恶俗，扛不住恶俗，要么乾坤倒扭，狂澜逆翻，成就全新之中天北斗。古往今来，成得此种功绩者竟有几人耶？无奈何时，便只能走入心灵，却发现原也是花团锦簇，盛境坛城，初羡他人，后自辟之，后世便有了蒙娜丽莎的笑、Bathsheba（Rembrandt 名画）的愁、西斯廷天顶神判之绝技，波提切利爱神之媚形。更有天骄，留得音声，存得物象，囊括天人地三才之众美，刺挞鬼魑魅万恶之逃形。为后人开辟得精神之天堂界，闲情之伊甸园。
Rembrandt (1606-1669) Bathsheba at Her Bath
Michelangelo (1475-1564) The Last Judgement Sistine Chapel， Vatican City
Sandro Botticelli (1445-1510)， The Birth of Venus
满室一无黄白物，可少人间富贵屋？此等心意，是伪情呼？中国古人有风骨之士子，颇识此理。因有此等之意趣：
沧海日，赤城霞，峨眉雪，巫峡云，洞庭月，彭蠡烟，潇湘雨，武夷峰，庐山瀑布，合宇宙奇观绘吾斋壁
青莲诗，摩诘画，左传文，马迁史，薛涛笺，右军帖，南华经，襄阳赋，屈子离骚，收古今绝艺置我书窗
意趣之中，独享流年。隔挡得喧嚣，留存得自我。诚非憾事也。是之谓有我之境。如此方不负马丁博士昔日之忧。
We must work passionately and indefatigably to bridge the gulf between our scientific progress and our moral progress. One of the great problems of mankind is that we suffer from a poverty of the spirit which stands in glaring contrast to our scientific and technological abundance. The richer we have become materially， the poorer we have become morally and spiritually.
Every man lives in two realms， the internal and the external. The internal is that realm of spiritual ends expressed in art， literature， morals and religion. The external is that complex of devices， techniques， mechanisms and instrumentalities by means of which we live. Our problem today is that we have allowed the internal to become lost in the external. We have allowed the means by which we live to outdistance the ends for which we live. So much of modern life can be summarized in that suggestive phrase of Thoreau： “Improved means to an unimproved end.” This is the serious predicament， the deep and haunting problem， confronting modern man. Enlarged material powers spell enlarged peril if there is not proportionate growth of the soul. When the external of man's nature subjugates the internal， dark storm clouds begin to form.
Martin Luther King (1929-1968)： Where Do We Go from Here： Chaos or Community？
吾辈须热切不倦努力，以填补科学发展与道德进步之巨大鸿沟。苦于心灵之贫瘠，是人类一大问题，与科技之丰足形成对照，触目惊心。在物质上愈富足，反在道德与精神上愈是贫乏。
人皆生于内在与外在两大领域。内在即精神，以艺术、文学、道德、宗教为显示。外在领域由赖以生存之设备、工艺、机械及工具所构成。当今之问题在于，人们听任内在领域迷失在外在领域之中，一任生存手段远远超前于生存目的。现代生活诸多方面确如梭罗所总结：“手段更新，目的荒废。”此为现代人所遭遇之重大困境、无尽之烦恼。若心灵成长失衡，物力愈大，危险愈高。待肉体凌驾于灵魂之上，便风云四起。
美国黑人民权领袖马丁 路德 金 《我们从这里走向何方：混乱还是社区？》
又可与华兹华斯（英国诗人）一心同感，快意人生。
My heart leaps up when I behold
A rainbow in the sky；
So was it when my life began；
I so is it now I am a man；
So be it when I shall grow old，
Or let me die！
The child is father of the Man；
And I could wish my days to be
Bound each to each by natural piety.
William Wordsworth (1770-1850) My Heart Leaps up When I Behold
我一见虹高悬天上，
心便跳不止；
小时似这般
长大亦如是
老后依然旧模样，
否则，不如死！
人且拜幼童，其心多赤子。
我心之所望：一世光阴，天然崇敬
日日当如此。（作者译）
华兹华斯 《我心雀跃》
还可与大卫梭罗（美国作家、哲学家）素心同起，幽兰共芬。
If the day and the night are such that you greet them with joy， and life emits a fragrance like flowers and sweet-scented herbs， is more elastic， more starry， more immortal- that is your success. All nature is your congratulation， and you have cause momentarily to bless yourself. The greatest gains and values are farthest from being appreciated. We easily come to doubt if they exist. We soon forget them. They are the highest reality. Perhaps the facts most astounding and most real are never communicated by man to man. The true harvest of my daily life is somewhat as intangible and indescribable as the tints of morning or evening. It is a little star-dust caught， a segment of the rainbow which I have clutched.
Henry David Thoreau (1817-1862) Walden
你若以欣喜迎对朝日，悦享夜光；你若觉生活芬芳如花，青甜如草；你若觉生命更应激情泉涌、星辰满天、永恒不朽，此等境界便是成功。江山锦绣为你而贺，自心嘉愿时亦浮出。最大之收获与价值，往往反遭漠视，以致疑其存在。进而又迅速忘记。失之交臂最高之真实。或许最惊人、最纯粹之真实尚未被人所传达。吾日间最大之硕果乃是晨曦之霞光，傍晚之暮色，欲辩无言，莫能名状。我所能抓住者，一点星尘，一抹虹辉。（作者译）
亨利 大卫 梭罗《瓦尔登湖》
从懵懂幼儿至今日而立将出，吾处生命之舟中，飘摇于红尘人海。娑婆形影里，独步如风尘。迳自谱写一曲不随波、不低头、不后悔之生命劳歌。趣中度流年，个中安积岁。非官非显，不富不贵。无意赞语山呼，赞歌相随，自似浮云野鹤，坦然潇洒平生。
作者所藏传统年画
吾以吾诗笞吾所恶，录吾所见，记吾行迹，宣吾所思。
吾以吾书载吾之诗，探吾之理，寄吾之意，抒吾之情。
吾之年年便付之于书艺、奉之于卷帙、探索于思域、求知于东西。
吾谓之“厌看惶惶穷争苦，岁华独判掌喧宁。”（作者）
吾少眷恋之炎凉世，何必趋从谄媚，笑脸相迎？
吾这夜色中之孤客，早将背影执拗地抛给朦朦月光。
纵无钟磬节鼓，亦歌一曲，笑纹之内，睥睨才沉，欣然浮起。
诗曰：
锦绣春山待泪浇，孑离枯树望空巢。
九死蓬艾存绿意，三生泥石抗腥刀。
转头群鸦惊梦起，迎面孤城魇灯烧。
暂得须臾清凉气，一唱冷雨过野桥。
作者《无题》
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